Oct 262012
 

I’m drowning in new videos. Beginning late yesterday, this is the third in a row of posts I’ve written for the site that consist of nothing but videos. But as much as I’d like to finish other things I’m working on, I continue to be distracted by the moving pictures and the quality sounds.

This post is full of Exceptions to the Rule around here, because all three of the new vidz collected in this post include (to varying extents) clean vocals. But all three songs have grabbed me, and I hope they’ll grab you, too. The first two are from down-under bands we’ve previously covered at NCS — Mammoth Mammoth (Australia) and Beastwars (New Zealand) — and the third is from a band I don’t think we’ve ever mentioned before, The Sorrow (Austria).

MAMMOTH MAMMOTH

I first came across Mammoth Mammoth back in May when they released their last video, which was for the title track to their third album Hell’s Likely (featured here). Since then, Napalm Records have picked up the album and will be releasing it on November 23 worldwide (order here).

I’m enjoying the album cover. I’m also enjoying the new video for “GO”, which includes a nice tip of the hat at the video’s beginning to Gojira’s “Vacuity” video and also features the same delectable woman who graces the album cover in her birthday suit (though she’s somewhat more clothed in the video). Continue reading »

Sep 082012
 

Here are a randomly noticed assortment of art, news, new music, and a video I saw and heard yesterday that I thought were well worth sharing.

VASTUM

Vastum are a Bay Area band who began under the name Corpus as a side project of vocalist Dan Butler and guitarist Kyle House from the amazing Acephalix, whose titanic 2012 album Deathless Master I reviewed here. They were eventually joined by guitarist Leila Abdul-Rauf (Hammers of Misfortune, ex-Saros), bass-player Luca Indrio from Acephalix, and drummer  Adam Perry. Their five-song debut, Carnal Law, which was originally released as a demo, made quite the splash in 2011, delivering a filthy, crusty, punk-influenced take on death metal.

Yesterday I happened to see the artwork at the top of this post. It’s one of the latest creations by the uber-talented Paolo Girardi, whose work I follow closely (and have featured at NCS many times before). When he posted it on his Facebook page, it came with this notation: “VASTUMPATRICIDAL LUST (2012)”.

I’ve seen no other news that Vastum are planning on a new release this year, but that’s sure what Paolo Girardi’s artwork and explanatory note suggest. I really hope that’s what it means. If you’re unfamiliar with Vastum, Carnal Law can be streamed and purchased at Bandcamp (here), and you might want to give it a listen after the jump. Continue reading »

Aug 202012
 

If you recognize that amazing artwork above by Nick Keller, it may be because just a few days ago we included it in a feature about his work. It graces the cover of an equally amazing self-titled album by New Zealand’s Beastwars. And today, we’re pleased as all hell to premiere a song from the album entitled “Call Out the Dead”.

Beastwars originally self-released this album in their home country in May 2011, where it generated a ton of buzz and earned the band a nomination (as one of only three finalists) for Best Rock Album in the 2011 Vodafone New Zealand Music Awards as well as selection as one of seven finalists (out of 87 submissions) for the country’s 2011 Taite Music Prize. Now the album is finally getting a worldwide release through Destroy/EMI Records — on September 11 in North America and a day earlier elsewhere.

No one song on the album fully represents the album as a whole, which is one of the reasons why it’s such a thoroughly enjoyable listening experience. Every song has its own character, yet they’re related to each other through the presence of powerful, earth-moving riffs, enormously catchy hooks, and the completely riveting vocals of Matt Hyde (which are themselves dramatically variable).

The album reminds us of the best work of Mastodon, though more primal and occult in its feel, with helpings of Sabbathian-style doom, Melvins-style sludge, Alabama Thunderpussy-style Southern groove, psychedelia, and a whole shitload of evil. Continue reading »